Bibliographische Annäherung Adler, Jeremy / Ernst, Ulrich ( ): Text als Figur : visuelle Poesie von der Antike bis zur Moderne [Ausstellung im Zeughaus der Herzog-August-Bibliothek vom 1. September April 1988]. Weinheim : VCH-Verlagsgesellschaft, Acta Humaniora. Albera, François (2005): L‘Avant-garde au cinéma. Paris: Arman Colin. Blistène, Bernard / Legrand, Véronique (org.) (1993): Poésure et peintrie.. Exposition Centre de la Vieille Charité. 12 février 1993 / 23 mai Marseille: Musées de Marseille / Réunion des Musées Nationaux, Bohn, Willard (1986) : The Aesthetics of Visual Poetry Chicago and London: The University of Chicago Press. ___________ (2013): The Avant-garde Imperative. The Visionary Quest for a New Language. Amherst, N.Y. : Cambria Press. Dencker, Klaus Peter (2010): Optische Poesie: Von den prähistorischen Schriftzeichen bis zu den digitalen Experimenten der Gegenwart. Berlin: De Gruyter. Drucker, Johanna (1996) : The Visible Word. Experimental Typography and Modern Art, Chicago and London: The University of Chicago Press. Hedges, Inez 1983): Languages in Revolt. Dada and Surrealist Literature and Film. Durham N.C. : Duke Univ. Press. Lista, Giovanni (2005): Dada libertin & libertaire. Paris: L’Insolite. Mitry, Jean (1974) : Le cinéma expérimental. Paris : Seghers.

Motherwell, Robert ( ): The Dada Painters and Poets. An Anthology. Boston, Mass.: G.K. Hall. Ottinger, Didier (dir.) (2008): Le futurisme à Paris. Une avant-garde explosive. Paris : Éditions du Centre Pompidou. Poivert, Michel (2006): L’image au service de la révolution. Photographie, Surréalisme, Politique. Paris: Le Point du Jour Editeur. Pozzi, Giovanni (1981): La parola dipinta. Milano: Adelphi edizioni. Tomiche, Anne (2015): La naissance des avant-gardes occidentales Paris : Armand Colin. Wall-Romana, Christophe (2013) : Cinepoetry. Imaginary Cinemas in French Poetry. New York: Fordham University Press. _________________ Clüver, Claus (2007):. In: Arvidson, Jens / Mikael Askander / Jørgen Bruhn / Heidrun Führer. Changing borders. Contemporary Positions in Intermediality. Lund: Intermedia Studies Press (pp ). Online: orders_dragen_dragen_.pdf Schröter, Jens : Intermedialität. Online:

Clüver, Claus (2000): “Concrete Poetry and the New Performance Arts: Intersemiotic, Intermedia[l], Intercultural”. In: Sponsler, Claire / Chen, Xiaomei (eds.): East of West. Cross-cultural Performance and the Staging of Difference, New York (p. 33–61). Clüver, Claus: “Ekphrasis Reconsidered: On Verbal Representations of Non- Verbal Texts”. In: Lagerroth, Ulla-Britta, Lund, Hans, and Hedling, Erik (eds.): Interart Poetics. Essays on the Interrelations Between the Arts and Media. Amsterdam; Atlanta 1997 (p. 19–33). “Interarts Studies. Concepts, Terms, Objectives,” Original English version unpublished. Portuguese: “Estudos interartes. Conceitos, termos, objetivos.” Trans. Samuel Titan Jr. and Claus Clüver. In: Literatura e Sociedade. Revista de teoria literária e literatura comparada (Universidade de São Paulo), No. 2, 1997 (p. 37–55). Clüver, Claus (2001): “Inter textus / inter artes / inter media” in Schmitz-Emans, Monika, / Lindemann, Uwe (eds.): Komparatistik 2000/2001. Jahrbuch der Deutschen Gesellschaft für Allgemeine und Vergleichende Literaturwissenschaft. Heidelberg 2001 (p. 14–50) Wolf, Werner (1999): The Musicalization of Fiction: A Study in the Theory and History of Intermediality. IFAVW Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft 35. Amsterdam: Rodopi. Wolf, Werner / Walter Bernhart (Hg.) (2006): Framing Borders in Literature and Other Media. Studies in Intermediality. Amsterdam: Rodopi.

COMBINATION Interreference illustration emblems picture & title music & title photo journalism picture / artist book (livre d‘artiste) Co-existence advertisement postage stamps songs? video comics opera liturgy posters

INTEGRATION TRANSFORMATION concrete poetry sound poetry typography print picture Sprechgesang conceptual art picture alphabet iconicity image containing verbal signs verbal ekphrasis musical ekphrasis program music novel into film iconic projection words into music cinematic novel theatricalization of a text

O Disco de Festo (Diskos von Phaistos), descoberto em É um achado arqueológico, provavelmente datado do metade ou do final da era do bronze da Civilização Minoica. Seu propósito, significado e até mesmo o local de manufatura, permanecem disputados, fazendo do disco um famoso mistério da arqueologia, atualmente em exibição no museu arqueológico de Heraclião. O Professor de História Geral do Colégio Dom Pedro II do Rio de Janeiro, Alberto Mendes de Oliveira, nos idos da década de 70 alegou ter decifrado o Disco que supostamente conteria o seguinte texto: "Eu sou o senhor todo poderoso, supremo arquiteto universal, onisciente, onipresente e onipotente, criei os céus, a terra, o mar e tudo que neles há e conservo a verdade para sempre, para todos os povos, nações, raças e tribos dos meus domínios."

Carmen figuratum ( technopaignion) Simias de Rodes Publilius Optatianus Porfyrius Venantius Fortunatus Carmen cancellatum (in-textus) Hrabanus Maurus ( ): De laudibus sanctae crucis (825/826) - 28 poemas Poesia manierista barroca (na Alemanha) Catharina Regina von Greiffenberg Theodor Kornfeld

Simias de Rhodos: o ovo

Syrinx von Theokritos

THEOCRITUS, THE SHEPHERD’S PIPE The lines of this puzzle-poem are arranged in pairs, each pair being a syllable shorter than the preceding, and the dactylic metre descending from a hexameter to a catalectic dimeter. The solution of it is a shepherd’s pipe dedicated to Pan by Theocritus. The piece is so full of puns as to preclude accurate translation. The epithet Merops, as applied to Echo, is explained as sentence-curtailing, because she gives only the last syllables (?), but there is also a play on Merops “Thessalian.” The strongest reason for doubting the self-contained ascription of this remarkable tour-de-force to Theocritus is that the shepherd’s pipe of Theocritus’ time would seem to have been rectangular, the tubes being of equal apparent length, and the difference of tone secured by wax fillings. But to the riddle-maker and his public a poem was primarily something heard, not something seen, and the variation in the heard length of the lines would correspond naturally enough to the variation in note of the tubes of the pipe. Moreover, every musical person must have know that, effectively, the tubes were unequal. The doubling of the lines is to be explained as a mere evolutionary survival. The application of puzzles or riddles to this form of composition was new, but in giving himself the patronymic Simichidas the author is probably acknowledging his debt to his predecessor, Simichus being a pet-name for of Simias, as Amyntichus for Amyntas in VII. If so, the Pipe is anterior to the Harvest Home, and we have here the origin of the poet’s nickname. (Anthology, XV, 21.)

1. Penelope. 2. Odysseus. 3. Telemachus. 4. Pan, hersman of (goats) the goat that suckled one (Zeus) for whom a stone was substituted 5. Cerastas, long-horned = Comatas, long-haired. 6. bees, cf and Vergil Georgics Pitys (Pine) = P + itys; itys = shield-rim; ine (old spelling) = eyes, i.e. bosses. 8. lit. whose; pan = all. 9. goat-legged. 10. Echo. 11. lit. voice-dividing (of Man). 12. Syrinx also = fistula. 13. for Syrinx. 14. the Persian at Marathon. 15. Perseus. 16. Europa (Euroep) was daughter of a Phoenician. 17. Theo-critus = judge between gods. 18. nickname of Theocritus. 19. woe = possession, ref. to the sore above. 20. i.e moleskin wallet, lit. wearers of the blind; blind = wallet. 21. lit. man-treading; Prometheus made man of clay. 22. beloved. 23. Omphalè (cf. Ovid, Fasti 2.805). 24. son of Hermes, and, in a sense, son of Odysseus. 25. lit. box-legged box = hoof. 26. Echo cannot speak of herself. 27. = of beautiful voice.

The bedfere 1 of nobody 2 and mother of the war-abiding 3 brought forth a nimble director 4 of the nurse of the vice-stone, not the hornèd one 5 who was once fed by the son of a bull, 6 but him whose heart was fired of old by the P- lessine 7 of bucklers, dish 8 by name and double 9 by nature, whim that loved the wind-swift voice-born maiden 10 of mortal speech, 11 him that fashioned a sore 12 that shrilled with the violet-crowned Muse into a monument of the fiery furnace of his love, 13 him that extinguished the manhood 14 which was of equal sound with a grandsire-slayer 15 and drove it out of a maid 16 of Tyre, him, in short, to whom is set up by this Paris 17 that is son 18 of Simichus this delectable piece 19 of unpeaceful goods dear to the wearers of the blindman’s skin, 20 with which heartily well pleased, thou clay-treading 21 gadfly 22 of the Lydian quean, 23 at once thief-begotten 24 and none-begotted, whose pegs 25 be legs, whose legs be pegs, play sweetly I pray thee unto a maiden 26 who is mute indeed and yet is another Calliopè 27 that is heard but not seen

Publio Optaciano Porfirio, Laberinto IX

HRABANUS MAURUS LIBER PRIMUS Poema em louvor de Santa Cruz, pelo monge beneditino Hrabanus Maurus, com surpreendentes exercícios gráficos. Original pertencente à biblioteca de Guita e José Mindlin, agora na Universidade de São Paulo

Abraham Abulafia Zaragoza, séc. XIII Discos com palavras giratórias

Ramón Lllull (Raimundus Lullius, )

Ramón Lull

Andrea Alciato : Emblematum liber (Augsburg 1531) Frontispiz. Dieses Buch begründet die kunsthistorische Form des Emblems, bestehend aus drei Teilen: Überschrift, Bild und poetischer Text (lemma, ikon, epigramma).

Lemma: Mentem non formam plus pollere (Den Geist nicht das Aussehen stärker schätzen - Klugheit zählt, nicht äußerer Reiz). Icon: Ein Fuchs scheint den Kopf eines Menschen zu betrachten. Das Epigramm ist den Fabeln des Aesop entnommen und heißt in freier Prosaübertragung: „Ein Fuchs fand im Fundus eines Theaters die Maske eines Schauspielers, vollendet geformt, so perfekt, dass allein der Geist noch fehlte, in allem anderem wirkte sie wie lebendig. Der Fuchs nahm sie auf und sprach sie an: Was für ein Kopf – doch ohne Hirn!“

Pedro Rodriguez de Monforte: Descripción de las honras que se hicieron a Phelippe Quarto. (aus Anlass der Bestattung von König Philipp IV. von Spanien, Madrid, September 1665). Emblem von Pedro de Villafranca Malagón.

Daniel Heinsius -, in: Théâtre d´ Amour (Emblemata amatoria)(1620), Fl. XXVI „Weder rafft der Tod der Platane die Weinrebe dahin, noch nimmt der Letzte Tag, der alles andere zunichte macht, unsere Liebe hinweg.“

Emblem aus den Monita amoris virginei von Jacob Cats (1620)

Otto van Veen (* 1556 in Leiden; † 1629 in Brüssel), genannt Otto Vaenius oder Venius Emblem „Was kein Auge gesehen und kein Ohr gehört hat“ (1 Kor 2,9)

François Rabelais: La dive bouteille (aus dem Roman Gargantua et Pantagruel)

Giovanni Battista Palatino Sonetto Figurato, Parte I Compendio del Gran Volume de l'Arte del Ben Scrivere (Roma 1566)

Juan Caramuel y Lobkowitz (Madrid, ) Poema dedicado al Creador (poesia permutatória)

George Herbert “Easter Wings” (1633) (1633)

Catharina Regina von Greiffenberg ( )

GREGÓRIO DE MATOS ( ) Em Às altas prendas do desembargador Dionísio de Ávila, o poeta explora visualmente virtualidades e equivalências estruturais das palavras, dispondo-as na página sob forma de uma constelação gráfica. Douto, prudente, nobre, humano, afável. Reto, ciente, benigno e aprazível. Único, singular, raro, inflexível. Magnífico, preclaro, incomparável. Do mundo grave juiz. Inimitável. Admirado, gozais aplauso incrível, Pois a trabalho tanto e tão terrível, Dais pronto execução sempre incansável. Vossa fama, senhor, seja notória Lá no clima onde nunca chega o dia. Onde do Erebo só se tem memória Para que garbo tal, tanta energia! Pois de toda esta terra é gentil glória, Da mais remota seja uma alegria.

Juan Díaz Rengifo, "Aquinas“ Arte Poetica Española" (Barcelona 1726)

rd.bne.es/viewer.vm?id= &page=1

Francisco José de Goya y Lucientes: Caprichos n° 40 & 79

The design itself, the craft of marbling, which flourished in Turkey and elsewhere in the Middle East, first became known to Europeans only in the 16th and 17th centuries, and commercial production in England did not begin until the 1770s. One reason this took so long is that making marbled paper is complicated: liquid pigments are suspended on a liquid medium, creating the colorful swirls, and then transferred to paper laid upon them. In the case of Tristram Shandy's first edition, this was done by hand and repeated on both the front and back of a single page with the margins folded in—a process so involved that later versions of the book usually resorted to mechanized reproductions. Stranger still was that the book, the first volume of which appeared in 1759, used marbled paper at a time when it was still almost unknown in England. The appearance of the material in the novel, Wolfe writes, was "a curious and intriguing development that has about it some of the mysterious elements of a modern spy thriller."

The marbled page also has unusual literary significance. As the Sterne Trust puts it, on the preceding page "Sterne tells the reader that the next marbled page is the 'motly emblem of my work'—the page communicating visually that his work is endlessly variable, endlessly open to chance." In encapsulates the spirit of the pioneering book as a whole, and gets at the good old—or, in Sterne's case, not yet invented—theme of the reader's personal subjectivity. In the words of Sterne scholar Peter de Voogd, "Each marbling is unique, as is each reading of Tristram Shandy. It is fitting that your copy of Tristram Shandy is different from mine, since your subjective experience of the book is different."

Charles Nodier: Kapitel IX des Romans Moi- même ( )

Charles Baudelaire: Correspondances La Nature est un temple où de vivants piliers Laissent parfois sortir de confuses paroles ; L'homme y passe à travers des forêts de symboles Qui l'observent avec des regards familiers. Comme de longs échos qui de loin se confondent Dans une ténébreuse et profonde unité, Vaste comme la nuit et comme la clarté, Les parfums, les couleurs et les sons se répondent. Il est des parfums frais comme des chairs d'enfants, Doux comme les hautbois, verts comme les prairies, - Et d'autres, corrompus, riches et triomphants, Ayant l'expansion des choses infinies, Comme l'ambre, le musc, le benjoin et l'encens, Qui chantent les transports de l'esprit et des sens

A noir, E blanc, I rouge, U vert, O bleu : voyelles, Je dirai quelque jour vos naissances latentes : A, noir corset velu des mouches éclatantes Qui bombinent autour des puanteurs cruelles, Golfes d'ombre ; E, candeurs des vapeurs et des tentes, Lances des glaciers fiers, rois blancs, frissons d'ombelles ; I, pourpres, sang craché, rire des lèvres belles Dans la colère ou les ivresses pénitentes ; U, cycles, vibrement divins des mers virides, Paix des pâtis semés d'animaux, paix des rides Que l'alchimie imprime aux grands fronts studieux ; O, suprême Clairon plein des strideurs étranges, Silences traversés des Mondes et des Anges : - O l'Oméga, rayon violet de Ses Yeux !

Vokale A schwarz E weiß I rot U grün O blau - vokale Einst werd ich euren dunklen ursprung offenbaren: A: schwarzer samtiger panzer dichter mückenscharen Die über grausem stanke schwirren · schattentale. E: helligkeit von dämpfen und gespannten leinen · Speer stolzer gletscher · blanker fürsten · wehn von dolden. I: purpurn ausgespienes blut gelach der Holden Im zorn und in der trunkenheit der peinen. U: räder · grünlicher gewässer göttlich kreisen Ruh herdenübersäter weiden · ruh der weisen Auf deren stirne schwarzkunst drückt das mal. O: seltsames gezisch erhabener posaunen · Einöden durch die erd- und himmelsgeister raunen. Omega - ihrer augen veilchenblauer strahl. aus dem Französischen von Stefan George

Stéphane Mallarmé: Un Coup de dés jamais n‘abolira le hasard (in Cosmopolis, 1897)